Hallie Borden delves into the underbelly of Judd Apatow's newest film. Read on...Judd Apatow has built a repertoire of remarkable movies that have established him as an auteur of comedy. In many ways, Funny People is similar to his previous work. It maintains that gentle balance of charm and vulgarity that allows it to appeal to a broad range of viewers. It is awkward and lengthy, but rarely boring, and it transcends the standard romantic-comedy genre to be something memorable and lasting.
Unlike his other films, however, Funny People is wildly intricate. Straying away from the high-concept, albeit hilarious films of his past, this one goes so many places it is difficult to tell whether it is rich with complexities or just unfocused. Either way, it could have used a fresh set of eyes in the editing room. Apatow’s tightly-knit crew gets too close to their work to see it clearly. In some ways, it is admirable to blatantly fly in the face of the 90-minute comedy, but in others, it is presumptuous to assume everyone will be amused for nearly two and a half hours. Funny People’s script lacks a natural ebb and flow, and seems to jerk with every plot twist. The casting, however, holds the disjointed pieces together.
Apatow’s usual lineup of actors and actresses fall so deeply into their roles that it is impossible not to be wrapped up in their struggles. Leslie Mann is particularly wonderful as "the one that got away." With more careful work, this could have been a perfect film, but is worth watching even with its flaws, as long as you are prepared for the very dark side of Funny People.
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